Superette Cocon Armchair

Have you ever dreamed of ultimately comfortable and warm armchair for late winter evenings readings or TV sessions? Céline Merhand and Anaïs More have designed a warm armchair called ‘Cocon’ for Superette, a company in Luxembourg. Soft duvet combined with a comfortable armchair makes a good combination to dwell in to catch couple hours of sleep or watch TV.

No more slipping plaids, once you are seated in Superette Cocon Armchair you can wrap in a thick blanket attached to the armchair and fix it by fastening a zipper. The armchair also can be shared by two people.
The cover is removable, so when it gets dirty it can be removed and washed. The dimensions of the Superette Cocon Armchair are 100 × 120 × 60 cm. It is available in red and gray.

New JVC GC-PX10 Shoots Video for Stills

t’s easy to miss a shot, even for professionals. It’s a common occurrence to have camera in hand, finger on the shutter release, waiting for the right moment to trigger. 

You might be waiting for a slugger to swing his bat or for a race car driver to pass before you. But after releasing the shutter, all you end up capturing is the ball approaching the batter or the back bumper of the race car after it has passed.
Motor drives on film cameras and burst modes on digital cameras are helpful because they capture a series of images, hopefully including the instant you’re after. But it’s still easy to miss that perfect shot, even after capturing a rapid series of stills. Sometimes the only way to effectively capture the exact moment you’re after is in video. But the problem then becomes an issue of pulling a perfect still from your video. Doing so usually results in a fuzzy image, but not if you’re shooting with the new JVC GC-PX10.
JVC’s new GC-PX10 is a video camera at heart, but one that lets you grab any still image you want from the video you’ve recorded. And it does so in perfect form, with stills looking like they were produced by a digital camera, not a camcorder.
It’s curious that for several years now, the focus has been on still cameras being adapted to capture perfect video; now JVC has adapted a video camera to capture perfect stills. It makes a lot of sense. If you can capture every little nuance of a dog leaping into the air to catch a Frisbee, or a marathon runner breaching the finish line and can convert the precise points of interest into crisp still images, then you’ve got a still camera that you’ll never miss a shot with—assuming you’ve got it switched on, that is. This is probably the future of still photography. After all, why capture just a handful of still images when you can simply capture all of them?

With the JVC GC-PX10, JVC has eliminated all of the problems associated with shooting stills on camcorders. It has done so with a unique form factor optimized for shooting still images, but with innards based on camcorder technology.
The GC-PX10 can capture 12-megapixel still images (4000 x 3000 pixels) in real time or capture 8.3-megapixel stills while recording 1920 x 1080p full HD video with a fast sampling of 36 Mbps. After shooting hours of HD video, you review the footage and save any image from the video as a high quality 1920 x 1080 still image. But that’s not all. You can also capture up to 60 still images per second in burst mode, with resolution of 3840 x 2160 pixels, and up to 130 shots per burst. But that’s still not all.

You can also capture super-slow motion footage by shooting high-speed VGA resolution video (640 x 360 pixels) at 300 frames per second (fps) for up to two hours straight. When played back at 60 fps, the 300 fps video slows down motion to 1/5 normal speed, but the image appears perfectly sharp and with fluid, though rather viscous motion. And believe it or not, that’s still not all. A Time Lapse mode records one frame every interval, from 1 to 40 seconds, allowing you to speed up the motion of slow-moving objects—say a blooming flower or a rising sun.
The JVC GC-PX10 makes things happen with its 1/2.3” back-illuminated CMOS sensor, high-speed FALCONBRID processor and 10x optical zoom Konica Minolta HD lens. A high-sensitivity ISO 6400 mode allows the capture of crisp stills in dimly lit environments without a flash. 32GB of internal memory is enough to store up to 8,600 12-megapixel stills or two hours of HD video. An SDHC/SDXC card slot can provide additional capacity. Other features include a three inch tilting touch-panel LCD, built-in flash, optical image stabilization, face detection and more. The camera is also Eye-Fi Card Ready so you can upload videos and stills through your Wi-Fi network.

JVC GC-PX10 Specs
Sensor	12 Megapixel
Zoom	10x Optical
Filter Size	46mm
Internal Media	Internal Flash Memory 32GB
Media Type	SD/SDHC/SDXC
Screen	3.0" LCD
Touch Screen	Yes
Image Stabilization	Yes
Built-in Flash	Yes
Accessory Shoe	Hot
Connections	USB 2.0, HDMI
Dimensions (WxHxD)	5.16 x 2.64 x 4.80" / 13.1 x 6.7 x 12.2 cm
Weight	1.14 lb / 520 g with battery

3D Video with the JVC GY-HMZ1U

3D video is proving to be a lot more than just a passing fad. More and more movies are being released in 3D, and new 3D TVs are being announced all the time. Newer still are 3D camcorders, which can produce 3D video at the touch of a button. Such is the case with the JVC Professional Products GY-HMZ1U ProHD 3D camcorder.

Normally, if you want to create 3D video you have to invest in a stereoscopic 3D rig, two identical HD camcorders and maybe even a matched pair of lenses. Then you have to mount and align everything with great precision and perform a little bit of voodoo to create the final footage. Or you can simply purchase JVC’s new GY-HMZ1U ProHD 3D camcorder and start shooting 3D video right out of the box.

JVC’s GY-HMZ1U ProHD

3D Camcorder can capture 3D video, 3D still images and 3D time-lapsed recordings, as well as 2D content. It features dual lenses, dual image sensors and a 3.5-inch, 920,000-dot LCD touch screen that can display 3D images without requiring you to wear 3D glasses. The dual f/1.2–2.28 lenses offer 5x optical zoom in 3D modes and 10x zoom in 2D modes. A 200x digital zoom is also featured. A big blue illuminated button on the back of the camera shines brightly to indicate that the camera is in 3D mode, and goes dim to indicate 2D mode.

3D images can be recorded as either AVCHD or MVC files. Each of the dual 3.3-megapixel image sensors can capture a 1920 x 1080 full HD signal, and the two signals can be recorded and encoded as a single MVC file. A variant of AVCHD MPEG-4 compression, MVC files contain both left- and right-eye information, or double the information of a 2D HD file. A 3D AVCHD file contains a side-by-side image of 960 x 1080 pixels. Note that 3D video can be recorded at 60i to capture smooth action shots, or at 24p for a film-like effect. The camera can also record 2D AVCHD video.

In addition to 3D video, the GY-HMZ1U can also record 3D audio using its built-in 3D stereo microphones. It can record biphonic 3D sound as dual-channel AAC, or two-channel Dolby Digital in 2D video modes. If you want to record even better-quality sound, the camera features dual XLR inputs for use with a shotgun mic or wireless audio receiver. The camera comes with a detachable handle that houses a shotgun mic holder, but you’ll have to purchase microphones separately.
Not just a gimmicky 3D camcorder, the GY-HMZ1U is also a full-featured 2D camcorder with all the bells and whistles you would find on any other high-end HD camcorder. It features an Advanced Image Stabilizer and can shoot in lighting conditions as low as 4 lux. You can simply turn on the camcorder and start shooting in a fully automatic mode or you can set things manually, such as shutter speed and white balance, just as you like them.
Outputs include mini HDMI for connecting to an HDTV set and USB 2.0 for transferring content to a computer. The camcorder features 64GB of internal memory so you can start shooting right out of the box without having

to invest another penny. Or you can use SDHC/SDXC cards if you need more storage space or simply prefer using removable media.

You might think that the GY-HMZ1U would be somewhat cumbersome with its 3D feature set, but you’d be wrong. Small in size and well balanced, the camcorder is only 4 inches wide by 2.5 inches high by 7.3 inches long and weighs only 1.49 pounds without the handle attached and it is 5.3 inches wide by 6 inches high by 9.2 inches long and weighs 2.2 pounds with the handle attached.
Using the GY-HMZ1U camcorder is a lot of fun. In 3D mode, everything you aim at appears on the 3.5-inch LCD in sharp, glorious 3D. It’s really quite astonishing how much depth shows up in the image. Different viewing modes let you see the 3D image, just the left image, just the right image or a 2D image. You can also see how bringing the camcorder too close to a subject—say, less than a foot or so—causes a double image to appear. If you need to shoot extreme close-ups you’ll have to do it in 2D.

You can always view your recorded material right on the camcorder’s display. But you have a few options when it comes time to view the material outside the camera. To play back the full-HD 3D MVC files you can connect the camera to an active 3D display via HDMI and you’ll have to put on a pair of active-shutter glasses to see the 3D effect. Similarly you can also connect the camera to a passive 3D display and put on circular polarized glasses to view the 3D image. The camera lets you switch between independent (sequential) or side-by-side 3D outputs, depending on the display you’re using. If you’re lucky enough to have access to a glasses-free 3D TV, you can simply plug in and watch with your naked eyes.
Preparing the 3D content for general public viewing outside the camera is a simple matter. JVC will be bundling Media Browser 3D software with the camcorder. The software allows data management, editing and outputting of 3D side-by-side Blu-ray video, so that anyone with an appropriate player and monitor can enjoy your 3D production. 2D AVCHD video can be processed using any traditional HD-capable equipment and workflow.
If you’re an indy filmmaker or amateur 3D buff, then this is the camcorder for you. But even if you’re in the market for a 2D HD camcorder and 3D isn’t a priority, the GY-HMZ1U will meet all of your needs and then some—you’ll always be able to shoot in 3D should the need or desire arise.

Image Sensor	2x 1/4.1" Type, 3.32 Mp (back-illuminated) CMOS
Lens	JVC 3D Twin HD GT (dual lenses)
Optical Zoom	3D: 5x 2D: 10x
Digital Zoom	200x (max)
F Number	3D: f/1.2-2.28 2D: f/1.2-2.8
Image Stabilization	Advanced Image Stabilizer (A.I.S.)
Shutter Speed	1/2 to 1/4000 sec
Gain	On/Off
Minimum Illumination	4 lux
LCD Display	3.5" (8.9 cm) wide, 920,000 pixels
Video Formats	3D Video MVC: MPEG-4 MVC/H.264 HQ (1920 x 1080 x2 24p, VBR, 34 Mb/s), THR (1920 x 1080 x2 60i, VBR, 34 Mb/s), TSR (1920 x 1080 x2 60i, VBR, 22 Mb/s) AVCHD: AVCHD TXP (960 x 1080 x2 60i, VBR, 17 Mb/s), TSP (960 x 1080 x2 60i, VBR, 12 Mb/s) 2D Video AVCHD: MPEG-4 AVCHD/H.264 UXP (1920 x 1080 60i, VBR, 24 Mb/s), XP (1920 x 1080 60i, VBR, 17 Mb/s), SP (1920 x 1080 60i, VBR, 12 Mb/s), EP (1920 x 1080 60i, VBR, 5 Mb/s)
Audio Format	3D (MVC/AVCHD): AAC 2-channel, biphonic 3D sound 2D (AVCHD): Digital Dolby 2-channel
Still Capture	3D: MPO 2D: JPEG
Recording Media	Internal flash memory (64 GB), SDXC/SDHC/SD card
Outputs	1x HDMI (mini) 1x USB 2.0 (mini) 1x 3.5mm stereo mini jack (headphones)
Inputs	1x 3.5 stereo mini jack (microphone) 2x XLR (L/R, microphone)
Power Requirements	11V DC (using AC adapter) 7.2V DC (using battery)
Power Consumption	4.8W (3D mode) 3.8W (2D mode)
Operating Temperature	32 to 104°F (0 to 40°C)
Storage Temperature	18 to 140°F (-10 to 60°C)
Operating Humidity	30-80%
Dimensions (HxWxD)	With handle: 6.0 x 5.3 x 9.2" (153 x 134 x 234mm)
Weight	With handle and battery: 2.2 lb (1 kg)

 

Outdoor Furniture: How to Choose & Maintain

Outdoor furniture matters. It can enhance your outdoor design by giving it more complete and beautiful look. Outdoor furniture needs a bit more maintenance than the indoor furniture since its often exposed to the direct sun, rains, and other environmental influence. It is as important to choose quality outdoor furniture as care for it. Merely moving it under the shed when it rains or snows or covering it with a plastic waterproof tarpaulin can save you some money the repair or new furniture can cost.

To maintain your outdoor furniture always have furniture covers at hand in case of rain. Be ready to move furniture back and forth when the weather changes in order to protect your furniture from sun heat, heavy rain, and snow. Check furniture thoroughly every couple of months to spot any damages and repair them, re-paint, oil, and wax if needed to prevent rot,rust, and further damage.

Iron and Other Metals

The outdoor furniture made of metals or featuring metal frames is prone to rust so you might want to look into rust-resistant metal furniture to keep maintenance down. But if you already have metal furniture non resistant to rust then you can wax it for protection. Clean the metal parts with a mild soap, use rust remover to get rid of any rust spots, dry it and finally apply wax or special coating to prevent rusting.

Wooden Furniture

Wood can be very sensitive when it comes to water and moisture so it absolutely must be treated with varnish. In cold weather wooden furniture must be stored indoors to prevent damage from moisture. Oiling wooden furniture might be a good idea if you want to protect it from water damage, since as opposed to cedar and teak other woods don’t contain natural oils that could protect them from the moisture. But you must only use special furniture oils to do that.

Fabric Furniture

Fabric from furniture can be very delicate so wash it carefully with mild soap or machine wash on a delicate cycle, don’t put into dryer to prevent shrinkage but rather let it air dry and fit it back to the furniture while it’s still a bit damp. Fabric is prone to fading and you can’t really wax or seal it so be sure to keep it away from excessive heat, rain, and snow.

Wicker Furniture

Wicker furniture is quite durable and low maintenance. It can be easily cleaned from dust and dirt with a pressure hose and air dried. But it’s better to wax it to protect from bad weather. It is also not a very space-conscious furniture so if you have little room you’ll have to find smaller designs or keep the number of items to a minimum.
Powder-coated aluminum and treated (sealed/waxed) steel can be quite durable and low-maintenance. Just be sure to renew anti-rust coating if needed. Plastic furniture isn’t expensive but you should opt for interesting designs that don’t look too plain. It is also mobile and can be easily moved in for storage.
The outdoor furniture designs are also very different. There are canopy beds, sets, benches, and beach beds of various forms and shapes that can add an interesting touch to your outdoor space and enhance the design of your swimming pool, patio, or garden.

The Cottage Bed By Patricia Urquiola

Patricia Urquiola has created an amazing bed cottage, a practical and awesome furniture that is suitable to any interior. This cottage bed is simply a terrific cabana-style bed that is a beach and sun atmosphere bringer.

Stylized as a small beach house, this amazing bed design is reminiscent of the sun and fun. Designed specifically for Spanish company “Kettal” by Patricia Urquiola, this Cottage bed was presented at the Salone Internazionale del Mobile in Milan, an international furniture exhibition. It features a little roof covered with material and wood. However, underneath it, there is an aluminum carcass.
This bed is ultra-hip and can be set in any bedroom, because it differs by color of roofs, and even material that covers the roof. As a one piece of furniture it also can become a central point in your bedroom, and your interior can be created around this wonderful piece. The Milan-based designer, Patricia Urquiola has emphasized it ecological meaning, its aesthetics and minimalism.
But most of all, the author of this amazing creation, mentioned tranquility and privacy this bed design offers. Having a roof like ceiling and even curtains, it provides the owner with a choice of being visible or being alone. Exquisitly designed for outdoor rest, it can no doubt be incorporated into your private bedroom, providing even more privacy, charm and a feel for wildlife.

Head to Head: Canon 1D X vs. Nikon D4

We’ve seen a number of impressive full-frame cameras show up in our labs this year, but none performed as well the latest professional flagships from the Canon and Nikon, the 1D X and D4. The two cameras pack updated autofocus systems, new processors, class-leading shooting speed, and improved connectivity features designed to aid professional news and sports photographers.

After spending considerable time with both cameras in the labs and in the field, we compared scores and found that they perform quite similarly. The two cameras excel in many of the same areas, resulting in almost identical scores.

Still, there are some key differences that any photographer is going to want to take into account before deciding between the two cameras. Of course, you’re probably going to stick with whatever brand you’ve already bought into, but we’re putting the two models head-to-head just for comparison’s sake.

This is not intended as a full review, but a direct comparison between the Nikon D4 and Canon 1D X. To read the full review for the Canon 1D X, please go here. To check out our full review of the Nikon D4, please go here.
Image Quality and Video

The difference in image quality between the Nikon D4 and Canon 1D X is subtle. Both cameras put up stellar numbers in all of our performance testing, with Canon’s superior image processing providing more accurate colors, while the Nikon D4 produced sharper images with the 24-70mm f/2.8 lens we used during testing. We used Canon’s comparable first-generation 24-70mm f/2.8L lens in testing the 1D X, but found it to be softer in the corners than its Nikon counterpart. (The updated Canon 24-70mm was not available during our review period).

The two cameras were neck and neck in our video performance tests, despite Canon’s pedigree in the videography world. The Nikon D4 is a giant leap forward for the company in terms of video quality, producing more pleasing motion, while matching the 1D X for sharpness. Both cameras shoot in 1080/30p full HD, offer autofocus during video recording, and have a 3.5mm microphone input.

The Canon 1D X does include some updated video features that should speed up workflow, with SMPTE timecoding and the choice between ALL-I and IPB compression; ALL-I compression records at a higher bitrate and is easier to edit, while IPB keeps file sizes down. The Nikon D4 doesn’t offer that level of workability, but it does provide a headphone jack for monitoring audio, as well as uncompressed video output through the HDMI port and the option to shoot with a lossless 1080p 2.7x crop zoom. The Canon 1D X is easier to work with for high-end video production, but it’s impressive that Nikon has improved its video chops so quickly, particularly since they don’t have a camcorder legacy to fall back on.

Autofocus Performance

As cameras designed for fast-paced action, it’s no surprise that the D4 and 1D X also come with improved autofocus systems. The Canon 1D X features a completely retooled 61-point (41 cross-type) AF system with an extreme level of control. The Nikon D4’s system is similar, with 51 AF points and a cluster of 15 cross-type sensitive points in the center of the frame. Both systems performed amazingly well in our autofocus sensitivity test, easily locking onto a static subject lit to only 10 lux.
The main difference in AF performance comes down to control versus design. The Nikon D4 offers a more compact arrangement of its cross-type sensitive points in the center of the frame. The result is slightly less space between points than on the 1D X, with the only expense being the ability to track subjects completely from edge to edge. Using teleconverters and long lenses, you can utilize five cross-type sensitive points as long as the lens and converter combine with the D4 to keep the aperture at f/8 or brighter.

The autofocus points of the Canon 1D X sit a little further apart, but the camera offers more of them. The 1D X uses 21 cross-type sensitive points in three columns in the center (compared to the 15 on the Nikon, covering more vertical distance), with 10 more cross-type points on each side of the center cluster. The 1D X also offers far more control, including a dedicated autofocus menu with six case-based, user-adjustable settings that can control things like tracking sensitivity, acceleration and deceleration tracking, and AF point auto-switching. This gives you the fine control you might need if shooting a range of subjects across a variety of distances—in other words, it’s a big help with sports.
In practice, we found both systems to work well. We didn’t have any extreme telephoto lenses to test on the bodies. However, when shooting fast-moving sports like rugby and soccer we found that both cameras tracked subjects accurately, though the Canon seemed to do so faster as subjects moved laterally across the frame, with the extra cross-type points providing more latitude. The Nikon’s more tightly clustered points, on the other hand, made it easier to maintain focus on a smaller point of interest (such as a ball or a person’s face) as it moved through a crowd, provided you kept it centered in the frame.

Features

The Canon 1D X bested the D4 in our speed tests, able to fire at up to 15 frames per second when shooting JPEG over a five-shot burst. The Nikon D4 was able to muster a respectable shot-to-shot rate of up to 12 frames per second over the same amount of shots. Both figures are excellent, but the Canon is a little more likely to capture crucial frames for a sports or news photographer in cases where RAW shooting is not required.
Canon and Nikon have each gone the extra mile to improve connectivity with their flagship bodies. Both sport Ethernet ports for the quickest possible image transfer speeds, remote shooting, and automatic upload to FTP servers. The focus on offloading shots quickly should vastly improve workflow, eliminating the need for expensive accessories to do the job.

 For storage, the 1D X sticks with dual Compact Flash card slots, while Nikon has taken a leap forward and paired a single CF slot with a newer XQD memory slot. The XQD card slot is smaller (due to the cards’ smaller size) and incompatible with Compact Flash. That means professionals who use dual-card setups are going to have to invest in new cards and card readers if they want to enjoy the enhanced speed. In addition, Nikon has upgraded the D4’s wired connectivity with a SuperSpeed USB 3.0 port, which is backward-compatible with older USB 2.0 technology.

Another feather in Nikon’s cap is built-in time-lapse and interval-shooting functionality. With time-lapse videos becoming more popular, these features (along with backlit controls) make the Nikon D4 the ultimate camera for capturing nightscapes. It also provides users with two methods for accomplishing the shot: the intervalometer, which captures and saves all the shots at full resolution, or the built-in time-lapse function, which creates a 1080p video automatically, but discards the full-size images.

Handling

Both the Canon 1D X and the Nikon D4 are on the receiving end of some ergonomic improvements over their predecessors. The biggest addition on both cameras is a second joystick-like selector for making adjustments when shooting with the portrait grip. This allows for simpler menu navigation and focus point selection, though the menus still don’t re-orient themselves vertically the way they would on any smartphone. (Wouldn’t that be nice?)
As you’d expect, both cameras are expertly crafted, virtually molded to the shooter’s hand with most major functions mapped to physical controls on the body. Both portrait and landscape grips on the Canon and Nikon felt great, though we found the Nikon material to have a slightly more plush and comfortable feel. Both were quite tacky, though, and easy to hold with just a single hand when using medium-sized or smaller lenses.

 Conclusion

It’s very difficult to find fault with either of these cameras. They’re built to a professional specification, and they’re both the culmination of years of design and feedback from their company’s brightest minds. Neither camera is perfect, but they’re both light-years beyond anything else currently on the market.

Still, our testing and time with the cameras reveals that, for certain types of photographers, one is clearly better than the other. The Canon 1D X’s advantage in speed, autofocus control, and subject tracking make it the ideal camera for sports and action shooters. You’re simply going to be able to shoot faster and more accurately with the 1D X than the D4, with generally superior JPEG production if RAW processing isn’t necessary or convenient.

The D4, however, should greatly appeal to those who are looking to do wildlife photography, night photography, or use extreme telephoto lenses. The design of the camera’s autofocus system uses a tighter array of points that are cross-type sensitive down to f/8. In addition, Nikon’s inclusion of features like multi-exposure, in-camera time-lapse, interval shooting, and excellent backlit control labels makes shooting with the camera in low-light conditions an absolute breeze. The backlit buttons in particular are a small but vital addition, making you wonder why they’re not a feature on every pro camera.

No matter how you slice it, these are two excellent cameras that should have broad appeal among pros who need a durable body with extreme speed and accuracy. Each has its clear strengths and weaknesses, but to choose between them is to choose between the two best cameras in the world today. If you’re married to either lens system it’s probably not time for a divorce, but there are enough positives on both sides of the line that we won’t blame you for being tempted.

To read the full review for the Canon 1D X, please go here. To check out our full review of the Nikon D4, please go here.

Head to Head: Nikon D800 vs. Canon 5D Mark III

Canon and Nikon have intensified their ongoing rivalry over the past year, in several exciting ways. Both companies released new top-end full-frame, professional DSLRs (The Canon 1D X and the Nikon D4), as well as new low-end full-frame DSLRs, the Nikon D600 and Canon 6D. Each model is so alike its counterpart that it’s eerie, and we found the Canon 1D X and Nikon D4 performed almost identically to one another in our labs.

But The Big Two didn’t stop there, releasing two mid-range full-frame cameras, as well. While the $2999.95 Nikon D800 and $3499.99 Canon 5D Mark III are similar in price and size, they’re actually quite divergent otherwise, appealing to very different kinds of photographers. We’ve fully tested both cameras and decided it was time to put them head to head to see which is the superior model.

This is intended to be a broad comparison of Canon 5D Mark III and the Nikon D800. To learn more about how these cameras performed both in and out of our labs, you can read the 5D Mark III’s full review here and the Nikon D800’s full review right here.
Image Quality

The Nikon D800’s headline feature is its eye-popping 36.3-megapixel full-frame image sensor. That sensor provided some of the sharpest images we’ve ever seen in our labs, and we found that in the field the images could be edited more aggressively without degrading image quality. The ability to downsample images from such a high resolution while still producing massive shots is huge, improving image quality and still leaving latitude for cropping.

The 5D Mark III and its 22.3-megapixel sensor offered softer images by comparison, but had better performance in low light when ISO needs to be cranked. The D800’s high-resolution sensor tops out at ISO 25,600 when expanded (ISO 6,400 native), while the Mark III has a native max ISO of 25,600, which can be expanded all the way to a staggering 102,400 when need be.

That high ISO performance gave the Mark III’s shots plenty of life when conditions got extremely dark. The Mark III also produced more pleasing JPEGs at higher ISOs, with more delicate noise reduction and better color reproduction.

Surprisingly, though, the D800 did not suffer as much as we expected in low light. Despite a higher volume of pixels on its image sensor, the D800’s resolution advantage kept the appearance of noise to a minimum. We were consistently amazed at the flexibility that 36.3-megapixels provided when shooting in the field. Whether we needed to crop, adjust levels, or sharpen an image up, the D800 handled it perfectly with plenty of headroom to spare.

Our one issue with the D800 was with its white balance system. The D800 performed just fine in custom white balance, but its automatic white balance struggled far more than is typical under artificial white fluorescent light. These images came with a green tint that we haven’t seen on any other camera.
Handling

Both the Nikon D800 and Canon 5D Mark III hold very true to the design philosophy of their respective companies. The Nikon D800 doesn’t depart greatly from the D700 it replaces, but adds additional video controls on the body. The Canon 5D Mark III puts more direct control at your fingertips, with a host of controls positioned right on the top plate near the secondary LCD and shutter button.

We found that the Canon 5D Mark III handled slightly better overall, but both cameras performed very well. Both cameras accommodate the hand well, with a tacky material covering both that offers plenty of grip. The best thing about both cameras is that they allow almost complete control over the camera without having to go into the menus; there are dedicated buttons for white balance, ISO, exposure, focus, and metering adjustments right on the body.
Both cameras offer superb viewfinders as well, with 100% coverage and information built into the finder. The option of live view shooting is also there when necessary, though both cameras have a fixed LCD.

Neither camera is a featherweight, but they’re both more compact than either the Canon 1D X or the Nikon D4. While the Nikon D600 and Canon 6D offer similar control in even lighter bodies, the D800 and 5D Mark III strike a fine balance between weight, balance, and control while retaining the premium, durable feel you expect from a professional camera.

Features

The Canon 5D Mark III was billed as a follow-up to the videographer’s favorite, the Canon 5D Mark II. The Mark III was built from the ground up to appeal to videographers, including a new compression system that lets you choose between editing flexibility (ALL-I) or size (IPB). The D800 was always built with its resolution in mind for still photography, and its control is designed to aid photographers; videographers were evidently something of an afterthought.
So a simple narrative here would be that the D800 is for still photography, while the 5D Mark III is for videographers. That’s selling both cameras short, though. Like the Mark III, the D800 includes both a headphone and mic jack, improved video compression, and full manual control while shooting. It also offered the sharpest DSLR video we’ve seen in testing (but still behind a hacked GH2, we’d wager) and acquitted itself well in our other video tests.

The Mark III, for its part, shoots faster than the D800 (6fps vs 4fps), offers the same level of control on the body, and has dual card slots (one SD and one Compact Flash, just like the D800). The Mark III also features a 61-point autofocus system, which is a vast improvement over the 5D Mark II’s most glaring flaw. We found it was more flexible and accurate than the 39-point system on the D800, which is also dogged by the infamous left-side autofocus point issue.

The D800’s resolution also resulted in some issues, keeping speed to a pedestrian 4.14 frames per second in our testing, filling memory cards in no-time flat, and producing video with rough moire and rolling shutter artifacts. The Mark III shares the moire and rolling shutter problems, but they’re not as bad, having been improved over the Mark II. If video is a concern at all, then the Mark III is your choice, otherwise either camera is a fine choice for still photography.
Conclusion

Picking between the D800 and Canon 5D Mark III isn’t easy. The Mark III’s color reproduction is excellent, and its improvements in video quality over the Mark II address both functionality and performance. The D800 is a great deal of fun to shoot with, though, and its 36.3-megapixel images provide the kind of editing flexibility you just don’t get from the Mark III.

In our lab, the Mark III had a slight edge on the D800 in a couple specific tests, but in general terms the two are pretty much equivalent. The D800 was noticeably sharper, while the Mark III produced more accurate colors, with a superior white balance system.

While the lab tests don’t yield a true winner, we were able to spend some time with both cameras shooting in challenging conditions. We took the D800 with us to Cologne, Germany to capture Photokina 2012, where its superior resolution impressed us on both the trade show floor and dimly-lit city streets. Here in Boston, we spent several weeks with the Canon 5D Mark III, capturing a timelapse and shots of the city at night.

Under those conditions, the D800 pulled ahead for us. The ability to crop, rotate, and sharpen our images up in post made our life significantly easier. The Mark III’s shots weren’t bad at all, but they just didn’t provide the latitude and freedom that we felt shooting with the D800.

We still think the Mark III is slightly better for serious videographers, but the Nikon D800 is our favorite of the two otherwise. White balance can be an issue in some circumstances, but our advice is shoot in RAW and enjoy getting the most out of that big, beautiful sensor.

To read about the performance of these two cameras in greater detail, please check out the full reviews. The full review of the Nikon D800 is available here. You can read the Canon 5D Mark III’s full review right here.

House On the Flight of Birds By Bernardo Rodrigues

House On the Flight of Birds is a project by Bernardo Rodrigues that took 8 years to implement but after looking at it, one sees it was worth it. The location and microclimate have largely defined the design of House On the Flight of Birds. Set in the north part of S. Michael Island in the Azores the house was designed to protect against wind and showers that are common for the area.

The red wall’s purpose is to block the winds while providing a protected open roof patio. The lower level is open to the green environment while all the rooms and bedrooms are kept private on the second level of the structure. The ‘wing’ also opens a part of the house with the stairs that lead to the second level.

 The interior is modern and somewhat futuristic with its quirky shaped windows. The windows are also located in unusual places in the house due to the house’s complex structure. There’s also a swimming pool located near the house while the roof patio provides great panoramic view of the island.